How to Create Magic Tricks

"The history of art is the history of revivals." - Samuel Butler

When I create magic, I begin the process at a variety of 'places.' One place is with a move that has caught my imagination, a sleight which on some level I sense has exciting potential. In such cases, I focus on the move and strive to perceive it in the abstract and apart from any specific (and limiting) applications.

Take for example, Edward Marlo's "In Lieu of the Through the Fist Move," also known as the "Twirl Change." What exactly is the essence of this move? Two playing cards, held back to back as one, are secretly spun 180 degrees undercover of a brief shaking action to affect the change of one card into another? Wrong.

The move can be performed with more than two cards, even half a deck. The move can be done with many other objects other than playing cards, including business cards, beer coasters and matchbooks. You can also execute the move to bring about effects other than an overt color change (such as the secret switching of one or more cards.)

The true essence of the move is the exchanging of a surface, either secretly or overtly Having established such wide creative parameters, I find that dozens of stimulating applications come to mind.

Sometimes I will develop an effect or handling beginning with a single line of script such as with my effect "Half A Coin Trick." One day I just thought of question, "Would you like to see half a coin trick?" and the routine sprung into existence.

Another effective approach towards developing magic is to consider the routine from a perspective of motivations. In regards to the "Twirl Change," the obvious question is: why do I shake the card as I do? Yes, it is a 'magic movement' which can suggest a parade of mysterious things, but if you move from the implicit to the explicit it can have a wonderful way of really bringing an effect into focus. (However, this is far from always the case. There is a great deal to be said for implication in that it leaves room for the audience's supremely powerful imaginations.)

Reflecting upon the 'Twirl Change,' I thought about the things humans shake, including bells and rattles. Then I thought about dice and developed a handling where I drew a quick sketch of two die on the back of a card and, with a little shake, the die appeared to change. And then it struck me, one of those plastic snow globes you see in souvenir shops! I developed my effect Snowstorm (including a handling idea from Richard Sanders.)

For me, creating magic is sometimes about locking a few ideas alone in a room in my head and waiting for them to start talking to each other. When they do, I eavesdrop and take notes. Other times I create with props in hand, slowly trying to arrive at a more direct route to the imagined goal. I often have an effect in mind and work towards it, but even as I do, I always try to stay open to exciting detours along the way.

Fortunately, over the years I have developed a reliable creative intuition and when it starts tingling, I follow it. However, the majority of the effects I have developed have been the result of concentrated thought. Hours spent turning things over and over in my head. Hitting a dead-end, taking a break, coming back to it later and starting again.

It really comes down to hard work, doggedness and the faith that there is an awesome effect eagerly waiting to be discovered, just around the next intellectual bend in the road.

Seed Newsvine

Bookmark this article in your preferred program

Comments

Add Comment

Popular Articles in this cathegory

This article is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 3.0 License.